Quotes About Narrative

That's right; I was watching 'From Russia With Love', one of my favourite Bond movies, and suddenly thought that I'd love to see a version of this from Tatiana Romanova's point of view. Or, better yet; what if she was the hero? What if this was her story, and Bond was just a side character?

All human beings have an innate need to hear and tell stories and to have a story to live by. religion, whatever else it has done, has provided one of the main ways of meeting this abiding need.

My role is to just tell the highest degree of truth with every character and every story. From there, I have no clue whatsoever how things are going to turn out.

Over the years, I learned that in my career, unlike in life, sometimes my wheelchair is its own automatic door opener. I was able to win the OWN competition by applying one simple principle: be funny, and admit you suck before anyone else can call you out on it. In other words, make the narrative of your failure a comedy.

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

And before I'd got to the end of the first paragraph, I'd come up slap bang against a fundamental problem that still troubles me today whenever I begin a story, and it's this: where am I telling it from?

Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.'

The fact of storytelling hints at a fundamental human unease, hints at human imperfection. Where there is perfection there is no story to tell.

Every place has a story - or a thousand stories. Findery brings places to life, be they where you stand or where you hope to go.

A story to me means a plot where there is some surprise. Because that is how life is - full of surprises.

You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.

Televison is time bound. Whereas a movie has time. You can't write a script for television and keep it for one year.

I think for some reason we're conditioned in movies that the protagonist must be heroic or redeemable in some way, whereas in theater, that's not a necessary.

We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.

With fiction, you can talk about plot, character and narrative, whereas a poem brings home the fact that everything that happens in a work of literature happens in terms of language. And this is daunting stuff to deal with.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

Most of my films have a lot of character development and exploration, whereas in most horror movies the characters are just cardboard.

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.

Both are about telling stories and bringing truth to those stories. In most of my music it's firsthand experience, and some of the same rules apply in TV. The difference in music is the control, whereas doing this, it's someone else's words that you can play in your own way.

I feel like with a movie you know your whole journey, and even though little minutiae might change, you're able to get a better idea of where you're going, whereas TV is engaging a different side of your brain.

I go wherever the good story is.

In the South or in the mine country, wherever you point the camera there is a picture.

Whichever character I'm using and wherever I am in my mind dictates what kind of story I'm going to tell.

Wherever you repress people, they get hold of a crayon and a bit of scrap paper, and they chronicle their lives and their existence and their history.